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The Contrast of Chinese and English in the Translation of Chinese Poetry

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The Contrast of Chinese and English in the Translation of Chinese Poetry Asian Social Science December, 2008 The Contrast of Chinese and English in the Translation of Chinese Poetry Ning Li Continuing Education College Beijing Information Science & Technology University Beijing 100076, China E-mail: [email protected] Abstract Chinese poetry is the soul of Chinese literature and Chinese culture. A good translation of a Chinese verse can promote the prevalence of Chinese culture. In the translation of Chinese poetry, translators should not only keep the characteristics of Chinese poems, but also embody the English characteristics. This article analyzed some versions of translation and proposed factors affecting the translation of Chinese poetry. Keywords: Chinese Poetry, Translation, Contrast 1. Introduction Chinese poetry is one of the most important parts in Chinese literature. Since The Book of Odes, the first poetry collection written by Confucius in the spring-autumn period was known by people, Chinese poetry has developed quickly. In the Tang Dynasty, Chinese poetry was at its peak. In this period, many immortal poems were written and had great influence on the later Dynasties. In the later Dynasties, Chinese poetry went on its development. But because of the development of other literary styles—Yuan Songs (drama created mainly in Yuan Dynasty), novels, and essays, poetry is no longer the major literary style. In this article, I’d like to talk about the contrast of Chinese and English in the translation of Tang-poems. Tang-poems has very strict phonological format. In each stanza, there are five (in quatrains) or seven (in regulated verses) words. Using limited words to express unlimited sense is the major characteristic of Chinese poetry. Now, seldom people have the interest and capability to write Chinese poetry. But man still likes it very much. Even those young children are proud of reciting Chinese poetry. At the same time, as the soul of Chinese literature, Chinese poetry is also loved by foreign Chinese learners and those who are interested in Chinese culture. It has been translated into English by both Chinese and foreigners since long before. However, Chinese is very different from English in many aspects. Chinese is an implicit language, which takes the parataxis and the rhythm as the most important thing while English is quite explicit. Parataxis means instead of using morphological connections, people use functional words or logical relationship of each component to compose a sentence (Pan, 1997: pp. 334). Conforming to syntactic rules is what English concern. In the form of language, Chinese is more flexible while English is very rigid. (Pan, 1997). These differences determine that a good translation should keep the implicit of Chinese poetry on the basis of not ruining the English rules. Some translators have succeeded in connecting the different peculiarities of the two languages but in most cases, it is a real task. In this article, I’d like to state how to harmonize the contrast of Chinese and English in the translation of Chinese poetry. 2. To keep the Chinese poetry’s characteristics I have mentioned the characteristics of Chinese poetry in the previous paragraph. The rhythm and parataxis is what Chinese concern. English is a language with syntax. The English version should keep these syntactical rules. How to keep rhythm and parataxis on the basis of sticking to the syntax of English? 2.1 The corresponding rhythm Chinese poetry has a very strict rhythm. In each stanza, the number of words is fixed, and the rhyme should be homologous in the even stanzas. When we translate it into English, whether we should try to keep the Chinese rhythm or conform to English syntax is a major concern of translators. Some of them managed to keep the Chinese rhythm. For example: Ji Sheng Mao Dian Yue, Ren Ji Ban Qiao Shuang In this poem, no verb is used. But we Chinese haven’t any difficulty in understanding it as “At a frosted night, the cock 105 Vol. 4, No. 12 Asian Social Science is crowing outside the thatch inn and there are seldom people on the wood bridge.” However, someone has ever translated it as, Cock crow thatch inn moon. Man trace wood bridge frost. (Zhang, 1993, pp. 19) Readers could possibly find this translation is of fun, but will English native speakers understand it? Other translators give priority to English syntax in their translations. For example, Deng Guan Que Lou (Wang Zhi Huan) Bai Ri Yi Shan Jin, Huang He Ru Hai Liu. Yu Qiong Qian Li Mu, Geng Shang Yi Ceng Lou. Xu (1990, pp. 31-32) translated it as An Ascent to Stork Hall The setting sun behind the mountains glows The muddy Yellow River seawards flows. If more distant views are what you desires. You simply climb up a storey higher. It’s a typical English poem with a rhyme of aabb. Though it’s not completely identical to the original format, both the form and the expression are all very successful. It can be called a work of art. In another example, Zhu (1995) translated “Quan Fei Shui Sheng Zhong, Tao Hua Dai Yu Nong” as, A dog, A dog barking, And the sound of the rushing water. How dark and rick the peach flowers after the rain. The author used some present participle instead of verbs making the English version very vivid with the barking of the dog and the rushing of the water But sometimes it’s really very difficult to make a compromise between rhythm of Chinese poem and English syntax rules. In such occasions, the obedience to the implicit sense of the original poem is very important. For example, Xun Yin Zhe Bu Yu (Jia Dao) Song Xia Wen Tong Zi, Yan Shi Cai Yao Qu. Zhi Zai Ci Shan Zhong, Yun Shen Bu Zhi Chu. W. Bynner (1995) translated it as When I question your pupil, under a pine tree. “My teacher,” he answered, “went for herbs” “But toward which corner of the mountain, How can I tell through all these clouds”? (cf. Zhang, 1994) In this translation, we can’t find a slightest trace of the original poem. Bynner translated “Yan Shi Cai Yao Qu, Zhi Zai Ci Shan Zhong, Yun Shen Bu Zhi Chu” as a direct answer of the little boy. However, it’s still a good version for the readers can both understand the implicit meaning of the poem and enjoy the mood of the poet. Rhythm is very important in Chinese and Chinese poetry. But when Chinese poetry is translated into English, it doesn’t matter whether we keep the rhythm or not. The grasping of the implicit sense is more important than just keeping the form. 2.2 The realization of parataxis In Chinese poetry, the realization of parataxis is very important. Poets prefer using logic relationship to grammar rules in composing stanzas. In order to be as compact as possible, poets may use some incomplete sentences. The readers could complement these incomplete parts according to their imagination. However, English is an explicit language, the supplement of the omitted part in the original poem seems necessary. Then is there a standard for good translations? In my opinion, a good translation should be coincide on logical relationship with the original poems. In other words, translators should attach importance to some key meaning clusters of the Chinese poems in narrow sense; while in broad sense, they should give superiority to the implicit sense and the mood of the poets. 106 Asian Social Science December, 2008 2.2.1 Focusing on key meaning clusters of a Chinese poem Let’s make an comparison of the following translations. Yue Luo Wu Ti Shuang Man Tian, Jiang Feng Yu Huo Dui Chou Mian. (Zhang Ji ) In Bynner’s Translation, While I watch the moon go down, a Crow caws through the forest, Under the shadows of maple trees, a Fisherman moves with his torch. ----Translated by Bynner ( cf. Zhang, 1994, PP. 22) Zhang Ting-Chen and Wilson translated as, The setting moon, a cawing crow, the Frost filled sky River-maples, fisherman flares, and troubled sleep ---- Zhang Ting-Chen and Wilson (cf. Zhang and Wilson, 1991: 10-11) In Xu Yuan-Zhong’s translation, The moon goes down the cows caw in The frosty sky Dimly-lit fishing boats’ neath maples sadly lie ----Xu Yuan-Zhong (cf. Zhang, 1994: 22) The key meaning cluster in this poem, is “Dui Chou Mian”, for it can reflect the mood of the poet the best. In Bynners’ version, “Dui Chou Mian”has been omitted, so the two stanzas have become a description of the scenery. Zhang and Wilson’s (1991) version adopted the rhythm of the original poem, using six nouns in their version. We Chinese native speakers may understand it, but whether native English speakers can understand it is a big problem. This version is not coincident with English syntax. The ellipsis of the subject may embarrass the readers. Besides, “Dui”hasn’t been translated. While the third version seems the best one in all the translations. Xu used “personification” to endow nature with the quality of human beings, which pull the traveler in the boat and the scenery out the boat together. The third version can really help readers taste the poet’s loneness when he lay sadly at night. So the translation of the key meaning clusters can help readers make a better understanding of the whole poem. 2.2.2 Focusing on implicit sense and poets’ mood In the translation of Chinese poetry, grasping of implicit sense is the most important thing. The logical relationship of each component of the poem is the soul of a good translation. Though grammar rules have often been considered in English, the coincidence in implicit sense cannot be ignored.
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